​One artist’s crusade against what he perceives to be anticompetitive behavior in the New York art world has come to an end—at least for now—as a federal judge dismissed his antitrust claims against five museums.

Ever since Richard Prince’s “New Portraits” project first made headlines, we’ve been following the story—and the copyright implications. Now, two lawsuits that arose out of that controversial exhibition are headed for a summary judgment ruling.

Last December, France’s president, Emmanuel Macron, gave a speech lamenting the fact that French museums hold a vast array of African art and artifacts, and pledged that, “In the next five years, I want the conditions to be created for the temporary or permanent restitution of African patrimony to Africa.” At the time, there was little in the way of specific detail about how that might happen, but this past spring, Macron commissioned a study to examine how that objective could be accomplished. Now, the experts tasked with that study have released a key report that makes a variety of recommendations that, if implemented, would represent a massive repatriation project for France.

Last week, as reported in Artnet, a court in France issued an order requiring Koons, his business entity, and the Centre Pompidou (a prominent French museum which had displayed the Koons work in question) to pay damages of over $150,000 to Franck Davidovici, the creator of a 1985 clothing ad called Fait d’Hiver.

​On the heels of last week’s post (see here) about Russian art collector Dmitry Rybolovlev’s lawsuit against Sotheby’s, we write now with a brief update. This week, authorities in Monaco formally named Rybolovlev a suspect in an investigation into allegations of corruption and influence-peddling.

The long-running, globe-spanning dispute between two powerful figures in the international art world has taken a new turn, as one of the parties levels formal claims against auction giant Sotheby’s for its role in multiple purportedly fraudulent art deals. The case continues to shine a spotlight on the often-convoluted and opaque nature of high-end art transactions.

Back in August, we wrote about a new lawsuit against automotive giant General Motors, and its potential implications for graffiti art. Now, the artist plaintiff in that case has at least partially prevailed in GM’s motion for summary judgment, clearing the way for a trial.

Over the years we’ve covered many stories about how the American copyright regime applies to graffiti art. Now, a lawsuit against car manufacturer General Motors may test a new legal angle in this area of case law.

​In an important ruling issued last week, a federal judge allowed fraud claims asserted by art collector Andrew Hall to proceed against a former art-history professor and her son, Lorettan and Nicholas Gascard, alleging that they sold him a number of forged Leon Golub works. The court’s decision is instructive for collectors who may have been duped into purchasing forged artworks, only to discover many years later that they were fakes.

Earlier this week, the Ninth Circuit Court of Appeals issued the latest—and likely final—ruling in Marei von Saher’s decades-long attempt to recover artwork looted by the Nazis from her late father-in-law. In ruling against von Saher, the Ninth Circuit has ensured that the Cranachs will remain in the museum, and accessible to the public, for the foreseeable future. This ruling will have significant implications for heirs of those who originally owned Nazi-looted artworks, especially where such heirs have already tried and failed to recover artwork through the official restitution channels instituted by European governments in the post-war years.

Yesterday afternoon, a lawsuit was filed in the New York State Supreme Court for the seizure and return of four artworks with an aggregate value of $1.66 million. In addition to bringing a civil replevin claim seeking recovery of the Works, the plaintiff has requested a Court order authorizing a sheriff to seize the Works from the defendant. As this lawsuit progresses further, it may present a useful opportunity to observe the application in the art-law context of a New York statute governing such seizure orders.

​Last summer, Grossman LLP successfully represented renowned artist and photographer Peter Beard and his studio in a lawsuit over three of his original artworks. The Chase defendants appealed to a higher court—the state’s Supreme Court Appellate Division, First Department—which held oral arguments on the appeal in January. And this week, the appellate court again handed an important victory to Mr. Beard.

Earlier this year, federal district judge Frederic Block issued an opinion ordering the defendants to pay significant damages for their violations of the Visual Artists Rights Act, 17 U.S.C. § 106A (also known as VARA). Now, Judge Block has denied the defendants’ request to reconsider his ruling, instead reaffirming and bolstering that earlier decision in advance of the defendants’ appeal to the Second Circuit.

We continue to follow the ongoing conversation in the art world about how best to handle disputes over artwork that was looted or displaced during the chaos and persecution of World War II. As one recent story demonstrates, sometimes a current possessor demonstrates willingness to return a work to rightful claimants but looks to a third party for compensation for the loss.

​Last week, a federal judge refused a request by Sesame Workshop—creator of classic children’s television show Sesame Street—to enjoin parts of a marketing campaign for an upcoming R-rated comedy film featuring a much darker take on puppets.

This blog writes often about copyright law, including defenses to copyright infringement claims, such as fair use. One recent decision highlights the “de minimis” defense to copyright infringement, which recognizes that there are cases where a defendant may use someone else’s copyrighted material in a way that is so minor that it does not give rise to a cognizable claim.

In a recent post, we discussed the European Parliament’s adoption earlier this month of a new Directive that will have far-reaching effects on Europe’s art market. We predicted that the United States might soon follow the EU’s lead by implementing similar legislation. Now, the U.S. Congress is officially headed down the same path.

We’ve written before about a high-profile case involving a Modigliani work, Seated Man with a Cane, which was allegedly taken from Oscar Stettiner, a Jewish art dealer who fled Paris in 1939 as the Nazis took over the city. Last week, a New York state court judge permitted a representative of his estate to proceed with claims against the work’s current possessors.

The oddly audacious copying of artwork at Rabbit Town illustrates a simple fact about artists who want to defend their intellectual property rights; that mission gets more complicated when an issue crosses international borders, because there is no universal international copyright law that protects an artwork all over the world.

On April 19, the European Parliament—the legislative body of the European Union—adopted the 5th Anti-Money Laundering Directive. The new legislation will significantly affect Europe’s art market, and prominent members of the art world have already expressed their concerns about the practical consequences of the Directive.

In a lawsuit filed last week in New York state court (see No. 651889/2018, N.Y. Co.), an art collector has sued over the problems he purportedly encountered in purchasing a sculpture by famed artist Jeff Koons.

The descendants of Austrian-Jewish cabaret performer Fritz Grunbaum have been working for years to recover some of the art that Grunbaum owned in the years before the Nazis rose to power. Now, the Grunbaum heirs have achieved a new victory.

In an important ruling issued last week, a New York state court dismissed claims by an art dealer who sued an artist’s catalogue raisonné for rejecting works the plaintiff had submitted for authentication. The case has the potential to set an important precedent protecting art authenticators from disgruntled art owners.

​Several stories in the news recently have turned a spotlight on the complex world of collecting art and historical artifacts across international borders—and serve as a reminder of the importance of diligence and legal advice in such transactions.

A recent decision by the Second Circuit Court of Appeals adds further complexity to the ever-evolving body of case law discussing the difficult concept of the “fair use” defense in copyright law. The case will likely be of interest to the art world because of the importance of fair use to many forms of art, from parody to appropriation art.

Earlier this month, retail chain H&M filed a lawsuit that seemed poised to address a central question about how copyright law applies to illegal graffiti. But following a public-relations backlash, H&M has apparently abandoned the suit, leaving these legal waters uncharted for now.

New Mexico jewelry merchant Nael Ali will soon become the first person ever sentenced under the Indian Arts and Crafts Act (“IACA”), a decades-old federal law that prohibits the sale of fake Native American goods.

This week, artist Lina Iris Victor filed a federal lawsuit in the Southern District of New York alleging that her copyrights in three original artworks were infringed in the music video (link here) of a new song, “All the Stars,” which is featured on the soundtrack of the new Marvel movie Black Panther.

In a lengthy opinion issued earlier this week, Judge Loretta A. Preska of the U.S. District Court for the Southern District of New York ruled that the Metropolitan Museum of Art may keep a noteworthy Picasso artwork, even though its German-Jewish former owners sold it for a fraction of its actual value to finance their safe passage out of fascist Italy.

Canadian art gallery Equinox Gallery Limited (“Equinox”) will be allowed to move forward with its lawsuit against art dealer Fred Dorfman following a favorable decision from a federal judge this week. Grossman LLP is representing Equinox in the case.

Back in 2015, during the Obama Administration, we wrote about a tax proposal that could have eliminated a federal tax code mechanism frequently used by art investors to defer tax consequences from art transactions. Ultimately, that proposal did not become law. But now, a recently-released tax plan offered by Congressional Republicans could put the same mechanism back on the chopping block, at least in terms of art deals. And if the plan becomes law, this change could have major implications for the high-end art market.

In a new lawsuit, the estate of American artist James Castle is suing publisher Scholastic and author/illustrator Allen Say over a forthcoming book about the artist, which the estate claims infringes on the copyrights of dozens of Castle works.

If you rode the New York City subway’s Flushing-bound Number 7 Line before 2013, you probably recall the elevated train snaking through 5Pointz, a group of Long Island City warehouses emblazoned with colorful graffiti. After years of protracted litigation, a trial is now underway in Brooklyn federal district court that will determine whether federal law affords the artists who created 5Pointz a legal right to the graffiti.

As the holiday season approaches, a federal court in New York has issued an opinion regarding a parody of Dr. Seuss’s classic children’s book, How the Grinch Stole Christmas—and in the process, has reaffirmed how the fair-use doctrine in copyright law relates to parodies of copyrighted works.

Famed artist Richard Prince is no stranger to litigation; over the years, he’s been sued by multiple plaintiffs whose art he has incorporated into his own “appropriation art” works. A few years ago, he was the defendant in the Cariou v. Prince case, which resulted in an important Second Circuit Opinion about the fair-use defense to copyright infringement.

Earlier this summer, a New York state court published a written opinion granting summary judgment to famed artist, Peter Beard, in an important lawsuit that will cause art-market participants to think twice before entering into hand-shake deals.
Grossman LLP filed this suit on behalf of Beard and his eponymous Studio against a group of defendants led by art collector Bernie Chase. Beard’s complaint alleged that during a series of interactions in the fall of 2013, Chase had taken possession of three artworks created by Beard, without permission from or compensation to Beard, and further, that Chase and his co-defendants had then marketed the works for sale at a New York gallery partially owned by Chase (and in fact had succeeded in selling one of the three pieces).

In our ongoing coverage of case law involving Nazi-looted artworks, we have written before about the long-running lawsuit over a Pissarro painting, Rue St. Honore, après midi, effet de pluie. Back in 2015, we wrote about a district-court decision that dealt a possibly-fatal blow to the claimants, who were seeking to recover the work from a collection controlled by the Spanish government. Earlier in July, however, the Ninth Circuit Court of Appeals reversed that decision, meaning the painting’s claimants can continue their fight in the federal courts.

The U.S. Supreme Court has granted certiorari in Rubin v. Islamic Republic of Iran, a case out of the Seventh Circuit regarding the ability to execute on a judgment by seizing Iranian artifacts held in American museums. The case will likely resolve a circuit split over whether victims of state-sponsored terrorism can collect on judgments by targeting assets of the foreign state held in the United States, even if those assets are otherwise protected by the Foreign Sovereign Immunities Act (FSIA).

Convicted forger Vincent Lopreto has been arrested again in connection with forged artworks, having allegedly commenced another art-fraud scheme just weeks after his release from a two-year prison sentence for a similar crime.